……………………………………………………………………………………………………………………………………………………………………

TITTELBACH.TV | ON ‚TATORT – RISIKEN UND NEBENWIRKUNGEN‘

“Gelungen dagegen ist der durchgehende elektronische Sound, der die kühle Erzählung um den Pharmafall kongenial ergänzt. Nach etwa einer Stunde dreht Vaid den Ton tiefer und fügt ein Zittern hinzu.”

……………………………………………………………………………………………………………………………………………………………………
> listen+watch [Evidence]
……………………………………………………………………………………………………………………………………………………………………

VARIETY | JD LINVILLE | ON ‘OSTROV’

“Marcel Vaid broke down a piano and started making strange sounds with some strange devices. It was like a shamanic ritual.”

……………………………………………………………………………………………………………………………………………………………………
> listen+watch [Opening Sequence]
……………………………………………………………………………………………………………………………………………………………………

.

JURY FESTIVAL DE CANNES | ON ‘CHRIS THE SWISS’
“Award-winning composer Marcel Vaid has created an intensely strong score to Anja Kofmel’s extraordinary story ‘Chris the Swiss’.”
……………………………………………………………………………………………………………………………………………………………………
> listen+watch [The Attack]
……………………………………………………………………………………………………………………………………………………………………

.

SÜDDEUTSCHE ZEITUNG | ANETTE SCHEFFEL | ON ‘GOODNIGHT NOBODY’
“The physical state of sleeplessness – the feeling as if the nerve fibres were located outside the skin – are being perceived through the buzzing, throbbing sounds of Marcel Vaid’s film music.”
……………………………………………………………………………………………………………………………………………………………………
> listen+watch [Main Theme]
……………………………………………………………………………………………………………………………………………………………………

Press Shorts >

AARGAUER ZEITUNG | TATORT – SCHATTENKINDER “Marcel Vaid’s wonderfully dark film music once again sets ENKINDER “Marcel Vaid’s wonderfully dark film music once again sets the Zurich Tatort on the soundtrack apart from the standardised German competition.“

……………………………………………………………………………………………………………………………………………………………………

SCREEN DAILY / ‘THE FORUM’ “Marcel Vaid’s news-report style score is employed sparingly, but helps to drive the film along.”

……………………………………………………………………………………………………………………………………………………………………

HOLLYWOOD REPORTER / ‘MY NAME IS SALT’ „With fine-tuned assistance from composer Marcel Vaid, whose light, tinkling score is a delight”

……………………………………………………………………………………………………………………………………………………………………

THE GUARDIAN / ‘MY NAME IS SALT’ Here are moon-scapes of mud, made all the more eerie by Marcel Vaid’s alien score”

……………………………………………………………………………………………………………………………………………………………………

FESTIVAL DE CANNES / ‘GOODNIGHT NOBODY’ “…the soundtrack of Marcel Vaid, ephemeral as a cloud of ether…”

……………………………………………………………………………………………………………………………………………………………………

EL PAIS” / ‘BON APPÉTIT’ ”El trabajo fluye de manera excelente, gracias también a intervalos musicales (Marcel Vaid) cargados de buen gusto” SÜDDEUTSCHE ZEITUNG

……………………………………………………………………………………………………………………………………………………………………

SÜDDEUTSCHE ZEITUNG / GOODNIGHT NOBODY…the buzzing, throbbing sounds of Marcel Vaid’s film music…”

……………………………………………………………………………………………………………………………………………………………………

NEUE ZÜRCHER ZEITUNG / ‘ZARA’ “…multi-layered and atmospherically dense sound-music by Marcel Vaid…”

……………………………………………………………………………………………………………………………………………………………………

FLICKERINGMYTH. COM / ‘THE NINTH CLOUD’ “…and the amazingly on-point music (Marcel Vaid) that make
you think about this film for hours afterward”

……………………………………………………………………………………………………………………………………………………………………

RADIO DRS2 / ‘TANDOORI LOVE’ “Marcel Vaid has written a musical score that conveys in its complete
wistfulness the magic and wanderlust which cinema entails.”

……………………………………………………………………………………………………………………………………………………………………

FILMFESTIVAL MONTRÉAL / ‘GOODNIGHT NOBODY’ “…combined with a particularly apt,
hypnotic score, plunge viewers into the living hell of sleeplessness”

……………………………………………………………………………………………………………………………………………………………………

RADIO DRS 2 / ‘ZARA’ “This is rather heavy fare: The soundtrack by Marcel Vaid
complements images of forlornness, pain and longing: a fierce unconventional
piece of artwork.

……………………………………………………………………………………………………………………………………………………………………